I spent three years at RMIT doing a bachelor of arts and media studies. It was a hugely formative experience. As someone who had a private Catholic school upbringing, the world suddenly became a much bigger and better place for me.
— Sonya Hartnett
I have spent a great deal of my time defending my work against those who see it as too complicated, too old in approach, too bleak to qualify as children's literature. This has been the bane of my life.
I think there is something in my books that says these are people doing their best under difficult circumstances - sometimes they do wrong things and make mistakes, but who doesn't? And who wants to read about somebody who never does?
I'll always struggle over saying I'm a writer, even if I won the Booker Prize.
I've never really been able to tolerate zoos.
If I'm desperate, I'll read anything. But even when I can be choosy, I still have no hard-and-fast rules. I have rules about what I won't read, rather than what I will. No science fiction, no romance, no chick lit. Although even these rules can be broken.
I feel it in my bones that if I had a kid, I would not either continue to write or have written the book I have done. So it's just me and the dog. I've always gotten along better with animals than I have with children, anyway.
I do not really write for children: I write only for me and for the few people I hope to please, and I write for the story.
I mostly wrote 'Thursday's Child' to explore the idea of a wild child - a creature who lived much as humans used to live, when our needs were simple and our worlds were small.
I have thought you could not give everything to your books and also to your children, so for a long time, I thought if I had a child or a family, I'd think, 'How would I support them?' because basically I would stop writing.
I don't understand why one should be one thing or the other. Writing, to me, is writing is writing. It should be a flexible tool. Whatever skills I have, have to work for me; I won't be dictated by them.
